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Special Feature:
Heritage Walks in Athens |
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1st
HERITAGE WALK: THE ACROPOLIS |
 STARTING
POINT:
Acropolis Station
TERMINUS:
Acropolis Station
This 1st walk takes
the longest time and is the most important in terms
of ancient history and art. The visitor should start
early in the morning, especially during the summer.
Another option, somewhat more costly, is to complete
this walk in two installments on separate days.
THE ACROPOLIS'
SOUTHERN SLOPE (1)
This was the cultural
center of ancient Athens, and the first example,
whether in Greece or the world, of a complex of
buildings dedicated to performances of the arts -
(tel. 210 3224625).
Theater of Dionysus:
The cradle of tragedy and
comedy, this first theater of the Western world was
built on the grounds of the sanctuary of Dionysus.
The archaic temple containing a wooden image of
Dionysus dates from c. 540 BC. It was in the 4th
century BC that the classical temple was built and
the gold and ivory statue of the god by Alcamenes
sculpted. The theater was formed at the end of the
6th century BC around an already existing circular
orchestra, still (if barely) distinguishable among
the stage ruins. It was on this stage that plays by
Aeschylus, Sophocles, Euripides, and Aristophanes,
which still inspires theater goers had their world
premieres. The stone tiers were built in 333 BC by
the orator and politician Lykourgos. The theater
could hold a crowd of 17,000 spectators; 30,000 when
the surrounding grounds were filled. The ancient
walk or "peripatos" cut through and divided into two
parts the theater proper and the higher "epitheater".
Under the Emperor Nero (67 AD), the stage and the
orchestra took on the Roman form they maintain to
this day. The "Pulpitum" (`Bema or platform of
Phaidros") was built in the 3" century AD.
East of the theater of
Dionysus stood the renowned Odeion of Perikles, now
in ruins. It was built in the 5th century BC with
the masts of the Persian ships (booty from the
Battle of Salamis in 480 BC), and used by the
Athenians for performances of music. According to Vitruvius, the Odeion was destroyed by fire in the
course of the war between Mithridates and Rome
during the assault of the Roman general Sulla in 86
BC and rebuilt by the King of Cappadocia,
Ariobarzanes.
Above the theater stood the imposing Choregic
Monument of Thrasyllus (319 BC). Sometime after
Christianity prevailed, it was transformed into the
Church of Panaghia Chrysospiliotissa. High above the
monument you can still see two Corinthian columns,
bases for choregic tripods of the Roman period.
The ruins of the
ancient Asclepion can be seen west of the theater.
This temple was built in 420 BC, was dedicated to
Asclepios, the god of medicine, and was used as a
sanctuary, a clinic, and a Medical School.
Other monuments
in-between the Asclepion and the Herodion, but now in
ruins, were Hippolytus' tomb, the archaic fountain,
and the sanctuaries to Earth Kourotrofos, to
Demetra-Chloe,
and to Aphrodite Pandemos. Just under the Asclepion
and the "Peripatos" lie the remains of Eumenes' Stoa,
once used by the crowds who came here to see the
performances in the theater of Dionysus, and later,
in the Odeion. The long two-storied structure was
built with a donation by Eumenes 11 (197-160 BC),
King of Pergamum.
Odeion of Herodes
Atticus: This building is adjacent to Eumenes' Stoa;
and a perfect match for it, although built almost
four centuries later (in 160-1 AD), by Herodes son
of Atticus, in memory of his wife Regilla. The roof
that once covered this monumental and luxurious
structure was of cedar wood. The Odeion was burnt
down by the Herules in 267 AD. During the period of
Ottoman rule, it was incorporated along with Eumenes
Stoa, into the city walls built by Hasekis (1778),
and formed the impregna ble "Serpenze". The Odeion
seats 5,000 people and still hosts musical and
theatrical performances today.
 THE ACROPOLIS:
The Sacred Rock of the Athenians (2)
(tel.: 210 3214172, 3210219)
Propylaea: One
of the masterpieces of classical architecture. This
imposing entrance was designed by the architect
Mnesicles and built in 437-432 BC, on earlier
propylaea. Mnesicles designed an entrance of no less
magnificence than that of temples and other
monuments on the Sacred Rock. The Propylaea consist
of a main hall and two side wings. The north wing
was to house a display of paintings and was named "Pinakotheke"
(Gallery). The outer columns both to east and west
are of the Doric order; the internal entrance way is
flanked by two high inner colonnades of the Ionic
order. The brilliant idea of combining the Doric and
Ionic orders lifts the emotions of those who enter
the Propylaea, giving them a rare esthetic
experience. In the 12th century the Propylaea became
the residence of the Metropolitan Michael Choniatis.
During Frankish rule, the whole structure was used
as a palace. Additions by the Franks included an
extra floor and a high watchtower that was
demolished in 1874.
(Photo
above: Parthenon before 1834, (Liberated Greece and
the Morea Scientific Expedition. The Peytier Album
in the Stephen Vagliano Collection, published by the
National Bank of Greece, 1971.)
Temple of Athena
Nike: A small, elegant, Ionian, amphiprostyle
temple, built by the architect Callicrates in
426-421, on an earlier tower of the Mycenaean walls.
It was dedicated both to the patron goddess Athena
and to the prehistoric goddess Nike, protector of
the entrance. In 1686 it had been demolished by the
Ottomans in view of the forthcoming Venetian attack
and the marble pieces were reassembled after 1835.
The temple is best viewed from the Propylaea.
Temple of Brauronian Artemis: Situated to the
southeast of the Propylaea, it once formed a
II-shaped stoa with ten Doric columns. The temple
was used for the cult of goddess Artemis, a cult
that originated from Brauron, homeland of
Peisistratus, in the mid 6" century BC. Today only
traces of its foundations remain.
Chalkotheke:
East of the Temple of Brauronian Artemis lies just
the base of a lengthy structure that dates from the
5 " century BC, which is believed to have been the
Chalkotheke, used for storing precious votive gifts,
mostly made of metal.
Erechtheion:
This temple, begun in Ionian style in 421 BC,
dominates the north side of the Sacred Rock. It is
complex and elaborate in its structure, and equally
complex in its symbolism. The temple was named after
the mythical king Erechtheus, often identified with
the chthonic deity Erichthonius, and later with
Poseidon. Athena and Poseidon played the leading
role among the other deities associated with the
temple, followed by Hephaistus, the father of
Erichthonius, and Voutis, Erechtheus' brother,
chthonic deities. Here also were the "signs" of the
gods: a well-hole shaped opening that contained
sea-water offered by Poseidon; and an opening in the
roof of the north stoa, made by the god's trident.
The ancient wooden image of Athena was kept in the
Erechthion, while her sacred olive tree was on its
western side. Particularly interesting is the
northern porch with its magnificent entrance and
more generally its outstanding Ionic decoration,
from the bases of the columns up to the ceiling
itself. On the east side there is an impressive
series of six Ionic columns crowned by a pediment.
On the south side of
the temple lies the porch of the "Korai" (the
original statues are exhibited in the Acropolis
Museum). The six "Korai" (female figures) that
support the entablature represent an eternal symbol
of the perfection of the female form; they recall a
ceremonial procession. The overwhelming charm and
ethereal lyricism of the Korai are typical of the
"elaborate style" in sculpture of the last quarter
of the 5th century BC. These Korai of the
Erechtheion were later named "caryatids". The most
likely interpretation is that the Korai were
identified with the young Caryatids, the ceremonial
dancers who bore baskets on their heads in rituals
honouring the Caryatid Artemis.
Probably during the invasion by Sulla (86 BC), the
Erechtheion was badly damaged by fire. Later, in the
seventh century AD, it was transformed into a
three-aisled basilica, dedicated to the Mother of
God. Under Frankish rule it became the seat of
administration, and in the period of Ottoman rule
... a harem! At the beginning of the 19''' century
it suffered the attentions of Lord Elgin's men. The
recent restoration of the monument was honored by
the award of a special medal by Europa Nostra in
1987. On the west side of the Erechtheion stood the
Pandroseion, dedicated to Pandrosos, daughter of
Cecrops.
Archaic temple:
In front of the porch of the Korai, between the
Erechtheion and the Parthenon, you can see the ruins
of the archaic temple, built in the 6th century BC
and dedicated to Athena Polias (Athena guardian of
the City). Little is known about the temple; the
archeological finds are sparse. Perhaps there was an
earlier temple of the Geometric period on this
location, exactly where the Mycenaean palace had
once stood. Most probably, the pedimental sculptures
depicting battles between gods and giants (525 BC;
now exhibited in the Acropolis Museum) originated
from this temple.
Nearby were the
Arrheforio, the altar of Athena, and the
inscription of the earth, followed by the sanctuary
to Zeus Polieus and the temple of Rome and Augustus
(27 BC).
 Parthenon: A
"Public Dedication", offered by the Athenians to
their patron goddess Athena Parthenos (Athena the
Virgin), for the city's salvation and Athenian
victories in the Persian Wars as part of Pericles
great construction program. The ultimate expression
of this achievement of the program it represents the
Athenian people at their zenith. It was built
between 447 and 438 BC.
It is the largest temple of classical antiquity -
surrounded by a colonnade of 8 columns on the short
and 17 on the long side. It represents the
culmination of the development of the Doric order,
although here Doric columns are combined with an
Ionic frieze around the cella or central part of the
temple. A ratio of `4-to-9' is repeated in various
parts of the temple. The columns embody the
principles of "meiosis" (diminution) and "entasis".
Meiosis is the gradual upward thinning of the
diameter of each column. By contrast, "entasis" is
the thickening, again of each column, at about two
fifths of its height; thus indicating the
strengthening of the column so as to hold the weight
of the entablature.
By the use of these
architectural refinements, the great masters of the
Parthenon gave life and mobility to the marble, and
displayed how weight can be held in place by the
power of construction.
The ancient Greeks were familiar with the optical
effect by which, when seen under the light, a
straight line gives the impression of a concave
curve. Wanting to counteract this optical illusion,
Ictinus and Callicrates applied a slight convex
curvature to the center of all horizontal lines on
the Parthenon. The curvature ranges from 6 to 17 cm
(on the long sides); it begins from the foundations
of the temple, and is repeated in the krepis, the
entablature, the ceiling, the roof and the ceramic
tiling.
On the horizontal,
delicately curved lines, stand the columns with
their entablature slightly curved towards the
interior of the temple, thus binding the structure
together. The comer columns join in the curvature of
both colonnades. The result is that all forces
counterbalance each other, thus achieving perfect
harmony and symmetry. The convexity and all other
deviations, known as "refinements", contribute to
the monument's high aesthetic appeal.
Inside the temple stood the gold and ivory statue of
Athena by the sculpture Pheidias, unfortunately
lost. The patron goddess of Athens was depicted in
full armor, yet peaceful, and at the same time both
supernatural yet human.
The metopes
represented, on the east side, a battle between gods
and giants; on the south, between Greeks and
centaurs; on the west, between Greeks and Amazons;
and on the north, the capture of Troy. The pediment
on the east is the earlier and shows the birth of
Athena. The central figures were lost in the early
Christian period. The west pediment is technically
more advanced; it shows Athena's contest with
Poseidon. When Morosini attempted to remove the
marvelous central figures and take them to Venice,
they were broken into fragments. The best preserved
parts of the pediments can be seen today in the
British Museum in London. Some fragments and a
unique complex (probably, Cecrops and Pandrosos) are
displayed in the Acropolis Museum. The pedimental
sculptures were sculpted in the round and represent
among the finest works ever created by the human
hand.
The outer wall of the calla was decorated with an
Ionian frieze of unparalled quality that represented
the magnificent Panathenaic procession: mortals and
immortals together as, idealized figures, process on
horse or on foot honouring the city and hymning
democratic Athens. The frieze of the Parthenon is
considered one of the greatest moments in the
history of art and of human civilization.
In late antiquity the Parthenon suffered damage by
fire, probably from the Herules (267 AD). In the 6"
century it was transformed into a Christian church.
During Frankish rule (1205-1456) it became the
Catholic church of the Virgin and later it was
converted into a mosque, until the great explosion
caused by Morosini (1687). At the beginning of the
19" century it was denuded of its sculptures by the
British diplomat Lord Elgin. The restoration of the
Parthenon which began in the 1980s, is proceeding in
accordance with the highest international standards,
appropriate to an unique monument of the world's
cultural heritage.
Acropolis Museum:
Situated where the Sanctuary of Pandion once stood.
Many of the objects on display had been buried in
the earth after the Persians captured the Acropolis
in 480 BC, hence traces of the original colors
remain. Among the many brilliant works of art the
following stand out:
Pediment depicting a she-lion battling a calf (600
BC), probably part of the original Parthenon {No.
4}.
Man bearing a calf (570 BC), a masterpiece of
Archaic sculpture that depicts a man carrying a
young calf on his shoulders as a votive offering to
the goddess Athena. Note the remarkably vivid
expression of his eyes {No. 624}.
Rampin's Horseman (550 BC). Marble figure of a
horseman, once part of the Rampin Collection. The
original head is displayed in the Louvre Museum in
Paris. Typical work from the years when the tyrants
were on power {No. 590}.
Kore" (female figure) wearing a peplos (530 BC),
probably by the same artist who made Rampin's
Horseman. An offering to the goddess Athena {No.
679}.
Marble figure of a dog, displaying the vivid
movement of a living creature from the sanctuary of
Artemis of Brauron. It dates from c. 520 BC {No.
143}
Kore from Chios (510 BC), small in size yet full
of charm, in Ionian style. By an unknown artist from
the island of Chios {No. 675}.
Kore" (500 BC); one of the finest works, that
dates from a transitional period, when the archaic
style was being replaced by the severe style The
head displays an intense nobility, that recalls the
contemporary birth of Democracy and Tragedy {No.
674}. "Blonde Boy" (485-480 BC), who has tasted
triumph at Marathon, and is ready to meet the
Persians again at Salamis. A young man's head, which
when discovered had deep yellow-colored hair {No.
6891.
Critias' son" (480 BC). This statue of a young
man is liberated from archaic immobility and moves
into action. The careful modeling has given us a
perfectly balanced body {No. 698}.
Torso of Poseidon from the west pediment (c. 435
BC), a titanic work b Pheidias. The front of the
torso is an original; the back of the torso is a
replica (the original is displayed in the British
Museum in London) {No. 885}.
Horsemen (c. 440 BC). Excellent work by Pheidias,
from the frieze of the north side of the Parthenon
{No. 8681. Nike putting on her sandal (c. 415 BC).
Frieze with a representation o Nike, a masterpiece
of the "elaborate style", believed to be a work of
Cal limachus {No. 973}.
" Caryatids" from the Erechtheion (420-415 BC),
probably by Alcam enes, a disciple of Phidias. There
are four Korai in total, preserve, under special
conditions, each one different from the other in
postu re, in the treatment of the draperies, and in
hairstyle. The best preser ved Caryatid, once part
of the Elgin Collection, is exhibited in the Bri
tish Museum in London; the sixth Caryatid was
dismembered durin the Greek Revolution (1827) and is
currently under re-construction.
Head of Alexander (338 BC); a splendid portrait,
believed to be the work of the sculptor Leochares.
{No. 13311}.
PERIPATOS: The Northern Slope of the Acropolis
(3)
Since antiquity, the
name for the path that runs around the Acropolis
Hill has been known as "Peripatos". It is "five
stadia and eight feet" (900-930 meters) long. The
beginning of the path was set on the junction with
the Panathenai Way. The path continued through the
ancient shrines on the slopes of the Sacred Rock,
cut the theater of Dionysus into two parts (the
theater and the "epitheater"), passed in front of
the Asclepion, and ended on the uphill paht that led
to the Acropolis. Nowadays, we reach the starting
point of the Peripatos by climbing down the
Acropolis and turning right towards the north slope.
Clepsydra: On the west side of the Acropolis,
and inside a cave, lies the spring Clepsydra. Its
earlier name was Empedho, but it was changed to
Clepsydra, (which means "water clock") since the
water was sometimes there but sometimes not. In the
first half of the 5''' century BC, Kimon transformed
the spring into a fountain. In the 10" century AD,
rocks fell on the fountain, and special works had to
be carried out in order to make it possible for the
Athenians to draw water. In Christian times, the
Clepsydra was sanctified and a small church built on
the now moss-grown ruins, bearing the name of Aghioi
Apostoloi "on the marbles". In later times, the
spring was buried under the rocks and gradually
forgotten. In 1822, Athens was temporarily liberated
from the Turks, and the spring was discovered again
by the fighter for independence and first Modern
Greek archeologist, Kyriakos Pittakis, by referring
to the ancient sources. He revealed the exact
location of the spring to the chieftains of the
Greek revolution and it proved an important factor
in the Ottoman siege of the Acropolis (1826-1827.
Cave shine of
Apollo: Near the Clepsydra, we find a cave that
once housed the Shrine of Apollo. After their
appointment, the nine archons (senior officials) of
Athens, took a first oath on the altar of Apollo
Patroos in the Agora, and then came here to take a
second oath. In this second oath they swore - among
other things - that, if they did not rule the city
in the proper manner, or embezzled public funds,
they would set up a golden statue of Apollo
Pythios-Patroos in the sacred cave. At the end of
their service, they offered a marble plaque bearing
sculpted laurel and myrtle wreaths, which served as
a reminder of their successful service. Many such
plaques were found inside the cave and the
surrounding area.
Cave of Zeus
Astrapeos (Zeus, bearer of lightning): Next to
the cave of Apollo, opens a second equally imposing
cave dedicated to Zeus. The father of gods and
humans was worshipped as "Olympios" (of Olympus), "Astrapeos",
or "Keravnios" (bearer of thunder). Written
documents state that each spring the "Pythaists"
gathered in the cave and awaited the sign of Zeus, a
lightning from the "Arma" peak on Mount Parnes, in
order to start their procession to Delphi. "Pythaists"
were members of the Athenian elite who represented
the city at the Delphic Pythean festivals. On their
return from the Delphic sanctuary, the Pythaists
brought back the "new light", the immaculate fire
that purified the sanctuaries in Athens.
Cave of Pan:
Nearby and a little to the east, there is another
small cave dedicated to Pan, god of forests and
shepherds. The cult of Pan came late to Athens, that
is after the victory at Marathon in 490 BC.
According to Herodotus, tradition told that Pan
appeared himself on the battleground of Marathon,
spread "panic" among the Persians, and helped the
seriously outnumbered Athenians to crush them. Every
year afterwards, the grateful Athenians held a
torchlight procession here in honor of Pan. They
carved small niches on the rock where they laid
their votive gifts: statuettes, flutes, even
delicacies. The cave of Pan is also known to us from
Aristophanes' play Lysistrata; the great comic
playwright placed here the unfulfilled - erotic
conversation between Myrrhine and Kinesias. In
later, Christian, times the sacred cave of the
goat-footed god was transformed into a small church,
dedicated to Saint Athanasios.
Mycenaean Fountain
- Cave of Ersi: Further to the east there is an
impressive cave, until recently believed to have
been dedicated to Aglauros, daughter of Cecrops.
Recent studies have concluded this was a sanctuary
to Ersi; Aglauros was worshipped in the big cave
found on the east slope. The cave actually consists
of a fountain, that was formed when in the Mycenaean
period (second half of the 13th century) a wall was
being built around the Acropolis. The passageway
opened on the Acropolis near today's Erechtheion.
The Mycenaean fountain was used for a very limited
time, probably for some thirty years, as evidenced
by the pottery sherds discovered. Probably, at some
point rocks shifted and buried the fountain, and the
lower part was thus forgotten. The upper part was
not forgotten, and remained in use as a secret
passage to and from the Acropolis. This passage is
connected with a great moment in contemporary Greek
history, in the first year of the Nazi occupation.
Late at night, on May 30, 1941 two young students,
Manolis Glezos and Apostolos Santas, crept through
the passage and evaded the guards. They approached
the flagpole in silence and took down the Nazi flag
bearing the swastika. On their way back, they passed
through the cave again, and threw the much-hated
symbol in the muddy waters of the fountain.
Following the liberation of Athens, the two
youngsters were acknowledged as the first partisans
in Europe.
Sanctuary of Aphrodite en Kipois (Aphrodite in the
Gardens): The cult of Aphrodite here replaced an
older cult of the Mycenaean dove goddess, who was
worshipped as a fertility goddess at a location near
the Mycenaean entrances to the Acropolis. It was in
this temple of the love and fertility goddess, that
the "Arrheforoi" came on a summer's night. The "Arrheforoi'
ceremony revived an ancient rural rite, intended to
promote fertility in the land. On the sanctuary
wall, one can still see the carved four-sided niches
where the ancient worshippers laid their votive
gifts. Other findings in the area include votive
inscriptions to Aphrodite and Eros.
Continuing on the "Peripatos',
and on the northeastern side of the Acropolis, one
can see over the fence the Anafiotika, a unique
residential quarter of small white-plastered houses
set around tiny alleys, very much like a typical
Cycladic village. It is a picturesque quarter built
on the early years of the newly-formed Greek State,
by craftsmen born in the island of Anafi.
THE ACROPOLIS'
EASTERN SLOPE (4)
Cave of Agraulos:
By pure chance, an inscription was found in front of
the cave on the east slope. The inscription was a
resolution of the Athenian popular assembly that
dates from 247 BC, when Polyeuctus' was archon, in
honour of Timocrate, the priestess of the sanctuary
of Agraulos. The final words on the inscription
state the assembly's decision: the resolution was to
be "written" on a stone shaft and mounted in front
of the sanctuary of Agraulos. It is as a result of
this precious finding that we know for certain this
is indeed the cave of Agraulos.
Agraulos, daughter of
Cecrops, was a beloved Athenian princess who later
became an important deity. 18-year-old Athenians
stood in front of her imposing sanctuary, to take
the oath and assume their weapons, a shield and a
spear.
There are two possible
routes for the visitor who wishes to follow the
Peripatos route down to the city. If one wishes to
make a full circle around the Acropolis, one should
walk down back to the starting point, the Theatre of
Dionysus. The 1st walk has been designed with this
in mind. In case a visitor is tired, however it is
possible to climb down the north slope, follow the
route that leads to the ruined church of Agios
Nikolaos (Saint Nicholas), and then take the exit
that leads to the Kanellopoulos Museum (in Theorias
St). One would then follow the 3rd walk, from the
Kanellopoulos Museum onwards (seep. 48). Ascend
THRASYLLOU ST - and continue to the right on VAKCHOU,
then VYRONOS, SHELLEY - and TRIPODON STS that lie
exactly over the ancient Tripodon Street.
VYRONOS (BYRON) ST: Named after the great English
poet and Philhellene, Lord Byron (1788-1824) who
died in Misolonghi during the War of Independence.
LYSICRATES'
MONUMENT (5)
The only choregic monument that
remains intact today, and acts as an emblem for the
whole Plaka district. It was built by the choregos
(sponsor) Lysicrates (334 BC) in a style resembling
the Corinthian order. The bronze choregic tripod
(bearing a cauldron) was awarded to the sponsor of
the winning plays in the theatrical contest, who
then gilded the tripod and mounted it on a monument,
to commemorate his victory. From 1669 until
Kioutachi's siege of the Acropolis (1826- 1827), the
monument adorned the Monastery of the French
Capuchins, initially as a chapel, and later as a
library. SHELLEY ST: Named in memory of the great
English romantic poet and Philhellene (1792-1822).
TRIPODON ST Pausanias in the second century BC names
the street "Tripodes" and informs us that this was a
very popular street for the ancient Athenians, since
it was here they took their walks, in the shadow of
the Acropolis. Tripodon Street was 6-8 meters wide
and 800 meters long. It joined the Prytanion - whose
position has not yet been established - with the
Theatre of Dionysus, forming a rough semicircle. The
street owed its name to the choregic tripods with
mounted cauldrons that stood on miniscule temples or
on columns, along the sides of the street. An
important part of the ancient Tripodon Street
coincides with the modern street of the same name
and the Lysikratous Square in Plaka.
ELLINIKI ETAIRIA
(6): On 28 Tripodon St lies the neoclassical
building that houses Elliniki Etairia - the Hellenic
Society for the Protection of the Environment and
the Cultural Heritage. It was built during King
Otho's reign (1833-1862) and some decorative ceiling
paintings survive. Restoration work which won an
Europa Nostra award in 1991, revealed important
antiquities: a 4m-high stone retaining wall of the
Classical period, that protected the monuments on
Tripodon Street; two big clay "pithoi" that date
from the Roman period; a part of the original
ancient paved surface, with its ceramic drainage
channel, part of the base of one of the biggest
choregic monuments in the street; and an olive press
of a later date. The two lower floors host
environmental and cultural events, a shop and a cafe
for members and friends. (28 Tripodon St, tel.: 210
3225245, 210 3226693)
ACROPOLIS STATION
(M)
Excerpt from: "Heritage Walks in Athens"
by the Municipality of Athens Cultural
Organization,
and by the Elliniki Etairia Hellenic Society
for the Protection of the Environment and
the Cultural Heritage
Next Month's Article:
Heritage Walk #2 - Hills and Demes
(Municipalities) of Ancient Athens
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